Palmer Edition II: Trio

Nils Landgren - 3 GenerationsCD / Vinyl / digital Nils Landgren with Joachim Kühn, Michael Wollny, Iiro Rantala, Lars Danielsson, Cæcilie Norby, Viktoria Tolstoy, Wolfgang Haffner, Ulf Wakenius, Jan Lundgren, Ida Sand, Youn Sun Nah, Vincent Peirani, Emile Parisien, David Helbock, Marius Neset, Nesrine, Julian & Roman Wasserfuhr, Anna Gréta, Johanna Summer, Jakob Manz, and many more We are Family – Celebrating 30 ACT Years Nils Landgren has been and remains the absolute linchpin of the ACT family. To date, the Swede has made forty albums on the label as leader, plus another twenty as producer or soloist. Michael Wollny, whose many many projects with Landgren give him a special connection, sums up a key ele-ment in his success: “With Nils everything becomes easy.” There is indeed a particular ease about Mr. Red Horn’s way of being; it is infectious and runs through everything he does. Which is all the more remarkable when one considers the sheer number of roles he takes on: trombonist, singer, band-leader, producer, festival director, professor, curator, talent scout and mentor.All of Landgren’s multiple roles and traits come to the fore on “3 Generations”. Working alongside producer and ACT founder Siggi Loch, Nils Landgren brings together three gene-rations of ACT artists’ in various line-ups to mark the label’s 30th anniversary. Landgren and Loch have a friendship and habits of working well together which go back almost as long as the existence of ACT itself. The two met for the first time at the 1994 Jazz Baltica Festival, just two years after the label was founded. Landgren became an exclusive ACT artist shortly thereafter. Since that time, it has been through Landgren’s network that artists such as Esbjörn Svensson, Rigmor Gustafsson, Viktoria Tolstoy, Ida Sand, Wolfgang Haffner and many more have joined the label. Nils Landgren continues in his trusted role as ACT’s leading connector and integrator. Finding and nurturing young talent has always been one of ACT’s strong suits. It was true for Nils Landgren, then later for Michael Wollny who joined the label in 2005 and is today one of the most significant pianists in Europe. With artists such as Johanna Summer and Jakob Manz - both born many years after ACT was founded - the label looks to the future with its younger generation of musicians bringing new ener-gy and impetus to the world of jazz.The Times (UK) has written: “Since 1992, ACT has been building its own European union of musicians, fostering a freedom of movement between nationalities and genres, and has given us an authentic impression of what the continent is about.” “3 Generations” demonstrates quite how true that assertion is. Around forty artists from the ACT Family make this anniversary album a celebration of the breadth, openness and inclusive power of jazz. The core of the album consists of recordings made at a summer 2022 studio session lasting several days. In reality, it is only Nils Landgren and Siggi Loch who could have brought this pano-rama of musical Europe into being. The influences here range from jazz, popular song and folk to classical and contempo-rary music, and much more. Thirty tracks from three generations of musicians marking thirty years of ACT, with Nils Landgren as driving force. Not just a retrospective, but above all an insight into the present and future of the discovery label “in the Spirit of Jazz”.Credits: Recorded by Thomas Schöttl at Jazzanova Studio, Berlin on June 7 - 9, 2022, assisted by José Victor Torell – except as otherwise indicated Mixed and mastered by Klaus Scheuermann Produced by Siggi Loch and Nils Landgren The Art in Music: Cover Art by Yinka Shonibare CBE: Detail from Creatures of the Mappa Mundi, Mandragora, 2018

Landgren - Wollny - Danielsson - Haffner - 4 Wheel DriveCD / Vinyl / digital Nils Landgren trombone & vocals Michael Wollny piano Lars Danielsson bass & cello Wolfgang Haffner drums It scarcely feels necessary to mention the preeminent status of all four of these artists, because that is evident from hearing the music. When Nils Landgren brings such feeling to his own melody “Le chat sur le toit”, or when Michael Wollny dazzles with the blues-infused piano solo in “Lady Madonna”; when “Polygon” opens with a bass intro from Lars Danielsson, or when Wolfgang Haffner sets up the power groove to propel “4WD”, then it’s clear what’s happening: four leading figures in European jazz who know each other well and who have appreciated each other’s work for many years have now got together. True, their paths have crossed many times before, and in all kinds of configurations. The formidable duo of Landgren and Wollny comes to mind, for example, as does Haffner’s long-term role as an anchor in the Funk Unit, or Danielsson's vivid bass presence in Haffner's trio…but here for the very first time are the four friends as a quartet. They decided to record an album together at the Nilento Studio in Gothenburg: “4 Wheel Drive”. The title of the album reflects the equal role which each of the four musicians has had in setting the direction for the quartet. They take to the road together, both as superb soloists and as team players. In addition to one original composition from each of them, Landgren, Wollny, Danielsson and Haffner also decided that they would focus on four living creative forces from the recent history of music and interpret their tunes, Paul McCartney, Billy Joel, Phil Collins and Sting. "These tunes are timeless classics in their own right, but there was another idea behind the choices of the songs we’ve covered. They have strong associations with the instruments in our quartet," explains Wollny. So McCartney stands for bass, and for vocals. Singer Billy Joel is also a talented pianist, and Phil Collins first started off his career as the drummer in Genesis. The choices were also dictated by highly personal connections. Danielsson considers the Beatles musician as his favourite bass-player; McCartney is up there with Johann Sebastian Bach as the musician he reveres the most. Sting is an inescapable presence in Nils Landgren's repertoire, especially the trombonist’s interpretations of "Fragile". And finally Haffner, just like Phil Collins, feels completely at home as a drummer in both pop and jazz. The 4 Wheel Drive musicians have also used the classic songs they have chosen as starting-points for their own excursions; so McCartney’s “Maybe I’m Amazed” becomes a subtly-lit jazz ballad. Freed from everything extraneous, and transformed by Wollny’s prepared piano, Billy Joel’s “She’s Always A Woman” is a mysterious and enraptured love song. The musicians interpret Genesis’ song “That’s All” as a collage of instrumental sound. And for Sting’s song about letting go, “If You Love Somebody Set Them Free”, they find a fitting musical parallel: the freedom of jazz leads naturally to Landgren’s powerful trombone improvisation. The album is bookended with music from the fast lane: it opens with Wollny’s fast-paced showpiece “Polygon”, and closes with Danielsson’s “4WD”; he had Nirvana’s “Smells Like Teen Spirit” in mind when he wrote this title track. 4 Wheel Drive as an ensemble is like a high-performance four-cylinder engine with all the gears meshing perfectly. And the fuel: jazz.Credits: Recorded October (9 - 11, 2018) , mixed and mastered by Lars Nilsson at Nilento studio, Gothenburg, Sweden Produced by Siggi Loch The Art in Music: Cover art by Peter Krüll

Wollny - Haffner - Landgren - Danielsson - 4 Wheel Drive IICD / Vinyl / digital Nils Landgren trombone & vocals Michael Wollny piano Lars Danielsson bass & cello Wolfgang Haffner drums Four is a winner: that was the unanimous opinion of critics and audiences alike on the first album from German-Swedish supergroup 4 Wheel Drive. The eponymous debut disc from this band of bandleaders went straight to the top spot as best-selling jazz album in Germany for2019. And the media didn’t hold back with their praise either: "Four first-league jazz musicians with pure joy of playing and a love of good pop music", said ZDF's “heute-journal” about this spirited and enjoyable group, which combines trombonist/singer Nils Landgren, pianist Michael Wollny, bassist/cellist Lars Danielsson and drummer Wolfgang Haffner. AllAboutJazz, a leading American jazz website, asked whether this album might be worth adding to a listener's collection, and answered the question succinctly:"4 sure".The same is manifestly true of the quartet's second studio album (there was also a live concert recording "4 Wheel Drive Live" in between, released in October 2019). In "4 Wheel Drive II", it is evident that things have shifted up a gear right from the start, with the rocky, pulsating opening track "Chapter II", straight from Wollny's compositional workbench. Landgren likes to let his trombone roar like a sports car engine. In similarly dynamic vein are pieces like Danielsson's final track of the album "The Wheelers", which, thanks to Haffner's nimble brushwork, makes you think you're on a high-speed train, or indeed Wollny's powerfully swinging "Spring Dance". Compared to the first album, there has been another change, an increase in the proportion of original compositions written by all of the participants, as Lars Danielsson, who has contributed a sensitive, poppy ballad to the new album "Just Another Hour", remarks. Interpretations of worldwide hit songs were a factor behind the huge success of the debut album, but the ratio to original compositions here is getting closer to 50:50. That said, the fuel powering 4 Wheel Drive has remained the same: this band is all about creating music from deep within, and with like-minded people whom you can absolutely and implicitly trust to be in the driving seat. "It just flows," enthuses drummer Haffner, "we're a group of close friends with nothing we need to prove, we can just go for it. I've had so many magic moments with this band, it really is incredible!"4 Wheel Drive was officially born at the end of 2017, at a special winter concert of the Jazz Baltica Festival, and Nils Landgren has described its entire history as having been blessed by "mutual respect and mutual love.". In the new album "4 Wheel Drive II", listeners are treated to several new moments of pure magic, continuing 4 Wheel drive’s illustrious story. For example, their new instrumental version of the Simon & Garfunkel classic "Sound of Silence", has something mysteriously Nordic about it. Or their newly-cast version of the surprisingly infrequently covered Genesis ballad "Hold On My Heart" putting it into a jazz context. If there's anyone who can sing a Phil Collins number without it being embarrassing, it's Nils Landgren. That idea also applies to Elton John's "Your Song" or Paul Simon's "Still Crazy After All These Years". The courage to approach pop tunes that have become so ingrained in many people's minds from a completely different perspective pays off in full. Because within 4 Wheel Drive are four originals at work, each of whom can be recognised from the very first note they play or sing.Michael Wollny doesn't see the playing of popular hits as a burden in any way, but rather as a freeing-up. "Songs that are so well-known give you the opportunity to be completely open to the moment," says the pianist. "In this band, the song selection allows us great freedom. It's like our concerts, where anything can happen. Drummer Haffner agrees: "There's nothing wrong with interpreting a great song in your own way. If you do it with deep conviction, you are always going to connect with people." Credits: Produced by Andreas Brandis with the artists Recorded by Joar Hallgren and Michael Dahlvid at Nilento Studio, Gothenburg, April 17 - 19, 2023 Additional recording by Lars Nilsson at Nilento Studio, June 2, 2023 Mixed and mastered by Arne Schumann The Art in Music: Cover art by Peter Krüll

Haffner - Wollny - Landgren - Danielsson - 4 Wheel Drive LiveCD / Vinyl / digital Nils Landgren trombone & vocals Michael Wollny piano Lars Danielsson bass & cello Wolfgang Haffner drums "Four top-league jazz musicians who just enjoy playing and who love good pop music," was how ZDF Heute Journal (German national TV news) introduced a feature about 4 Wheel Drive. “A jazz Olympics four," wrote the Neue Zürcher Zeitung. The group’s studio album spent four months at the top of the official German jazz charts, and now a new live album is being released. Nils Landgren, Michael Wollny, Wolfgang Haffner and Lars Danielsson – any one of these four with his own band could have filled a concert hall such as the Prinzregententheater in Munich, the Alte Oper in Frankfurt or the Philharmonie in Berlin as part of an ACT JazzNights tour organized by Karsten Jahnke. So the combination of the four into a supergroup raised the kind of eager expectations that such encounters do not always fulfil, because great live performance is anything but a theoretical strategy game. Essentially, nothing is proven until it has actually happened in practice. And the extent to which this group really did come into its own in the concert hall can now be heard on "4 Wheel Drive Live", a recording of the last concert of the group’s eleven tour dates, on 19 April 2019, in front of a packed house at the Theaterhaus in Stuttgart. Thomas Staiber of the Stuttgarter Zeitung was there and wrote: "In Stuttgart the supergroup exceeded all expectations. It was because the four were able to function so solidly with one another and to react with such instinctive understanding, that each of them had all the freedom he needed to stretch out fully as an improviser. [...] This musical four-cylinder engine with its four-wheel drive negotiated the rugged terrain of jazz and was equally at home in enjoyable pop music. They did both sensationally, and unleashed storms of genuine enthusiasm." "The band just got better and better as it toured," says producer Siggi Loch, explaining the background to the release of this live CD as a follow-up to the original studio album. The original compositions plus cover versions of songs by Sting and Phil Collins took on a whole new identity on stage. As Oliver Hochkeppel from the Süddeutsche Zeitung stated enthusiastically after the Munich concert: "In the live context, the songs from their album gave these top-calibre jazz musicians just the right blank canvas to paint stunning pictures. […] And to witness how each musician picks up ideas from the others in a split second and creates new ones is to reach an understanding of why music is the most beautiful of all languages. Come to a concert like this feeling tired, and you will be enlivened by episodes when ferocity and sheer pace and power take over. And the special flair of these four is really evident in the rests, in the thoughts that are quietly interspersed, in filigree pianissimo tones and the gentlest of contact with the instruments." When all of this coalesces, one experiences one of those very special concert evenings. And thanks to the live recording now issued as "4 Wheel Drive Live" this fleeting and precious moment will not be forgotten.Credits: Recorded live in concert at Theaterhaus Jazztage Stuttgart by Adrian von Ripka, April 19, 2019 Mixed and mastered by Adrian von Ripka at Bauer Studios Ludwigsburg, Germany Produced by the artists Executive Producer: Siggi Loch

The continuation of the extraordinarily successful Shapes concept in a congenial trio setup. Recorded "live in concert" in Berlin and Baden-Baden.

The ultimate compilation "celebrates highlights from 15 years of high-quality label history from ACT." AUDIOPHILE HIGHLIGHT - STEREO

Not only for classical music lovers, jazz freaks or pop fans, but for everyone who loves good melodies.

Możdżer - Daniellson - Fresco - BeamoCD / Double vinyl / digitalLeszek MożdżerFazioli piano (A = 440 Hz equal temperament)Steinway piano (A = 432 Hz equal temperament)Östlind & Almquist piano (A = 440 Hz decaphonic tuning) Lars Danielsson Double bass, cello & viola da gamba Zohar Fresco Frame drums, percussion & vocalsIn July 2004, when Leszek Możdżer, Lars Danielsson, and Zohar Fresco performed together for the first time in Warsaw, few could have predicted that this trio would evolve into one of jazz’s most enduring and celebrated ensembles. Now, 20 years later, they return with “Beamo” - an album that not only reaffirms their mastery but also opens a bold new chapter in their musical story.At the heart of “Beamo” is an extraordinary experiment in tonality. Leszek Możdżer redefines the conventions established by 17th- and 18th-century masters like Bach and Rameau, breaking free from the equal temperament system, which divides the octave into 12 equal intervals. While this system has dominated music for centuries, Możdżer challenges its limitations, describing it as “a painful pixelation of music, reduced to twelve obligatory tones.” For “Beamo”, Możdżer employs three grand pianos with unique tunings: one at the modern standard of A = 440 Hz, one at A = 432 Hz, and a third in a decaphonic tuning, dividing the octave into 10 equal intervals. This approach doesn’t abandon tonality but reshapes it, creating a tonal instability that is both intriguing and profoundly beautiful.Lars Danielsson masterfully navigates this new soundscape, weaving these distinct tonalities together with the deep, resonant voice of his double bass. His improvisational brilliance is further showcased when he plays the viola da gamba on tracks like “Decaphonesca”, adapting its frets to align with the decaphonic tuning. Meanwhile, Zohar Fresco provides a rhythmic foundation of extraordinary depth and complexity, his percussion work glistening with intricate details that form a world of their own.According to Leszek Możdżer the album title is “a game, a code and it’s up to the listener to decode its’ hidden message... It could be a reference to the Latin word „amo” representing the qualities of love, or a “beam” - symbolizing a ray of light. It’s a riddle, a multidimensional manifesto - and the shortest poem possible.” Each track on “Beamo” is a unique narrative. In “Kurtu”, deliberate detuning creates a sense of emotional tension, while “Ambio Bluette” explores dual tonalities through the interplay of Możdżer’s left and right hands. "Catusella" pays homage to Danielsson’s iconic composition "Asta" on the trio's debut album "The Time", blending two differently tuned pianos in a seamless dialogue.Despite its experimental nature, “Beamo” remains rooted in the trio’s signature style - marked by European lyricism, classical sound quality, and the interplay of virtuosic solos. Yet, there’s an added dimension, an echo of Early Music’s rich and imperfect tones, reminiscent of clavichords and spinets. This synthesis of historical resonance and modern innovation is unparalleled in contemporary jazz. “Beamo” dazzles, surprises, and inspires, offering listeners a sound that feels both mysterious and familiar. It’s more than an album - it’s a transformative musical experience that reimagines what jazz can be.Credits: Recorded from 18-22.09.2023 at Monochrom Studio (Poland) by Piotr Taraszkiewicz, assisted by Ignacy Gruszecki (Mono-chrom Studio) Additional cello parts recorded on 12.12. 2023 at Tia Dia Studios, Mölnlycke (Sweden) by Piotr Taraszkiewicz Brim On & Jacob's Ladder were performed in A = 432 Hz equal temperament tuning Decaphonesca was performed in decaphonic tuning Enjoy the Silence was performed in 440 Hz tuningAll other pieces were performed with the simultaneous use of two or three mixed tunings (440 Hz, 432 Hz and decaphonic tuning) Cover Art by Michał Wit Kowalski 

A musical feast in blue: Vince Mendoza conducts an outstanding ensemble blending jazz and classical.

"One thing must be stated at this point: Christmas With My Friends by the Swedish jazz trombonist Nils Landgren is the most beautiful Christmas CD of the year." - STERN

Lars Danielsson - CloudlandCD / Vinyl / digitalGood things are worth waiting for. At the end of 2019, Lars Danielsson had just recorded a few tracks for a new Liberetto album—then the pandemic hit... When a brief window opened between lockdowns across Europe in September 2020, Danielsson seized the opportunity and brought his bandmates back to his studio near Gothenburg to finish what they had started.If you appreciate the charm and accessibility of Danielsson’s Liberetto concept—his coined term already fuses musical freedom with playful ease—you’ll love Cloudland, the fourth Liberetto album. All expectations are met, starting with the “elegant lyricism” and the “spot-on groove” found once again in abundance, as Canadian writer John Kelman (All About Jazz) already noted back in 2011 with the first Liberetto album. “I think of my compositions as songs,” says Danielsson, who never forgets the importance of melody. After all, he still vividly remembers that his very first music teacher was an organist with a fondness for hymns.But Cloudland also showcases Danielsson’s full range of tonal colors and expressive possibilities. New ones are added to the familiar palette. Right at the start of “Imagine Joao,” for instance—a duet with John Parricelli—he presents the melody with the elegance and eloquence of a consummate lyrical bassist, just as we’ve come to expect from him. In the final sixty seconds of “Villstad,” however, we hear heroic, rock-like sounds that most listeners will likely attribute to an electric guitar. But appearances can be deceiving when it comes to tone alchemist and sound wizard Lars Danielsson: here, he’s playing an electronically distorted cello.Also new is the five-string hybrid bass-cello, which Danielsson uses here for the first time—bowed (“con arco”) in the opening track “Vildmark” (which means “wilderness”), and plucked in “Tango Magnifique.” “It’s a replica of an 18th-century instrument,” Danielsson explains, “and not only does it look beautiful, it has a wonderful sound. It really sings!” Cloudland brings more innovations: since being part of Trilok Gurtu’s band in the 1990s, Danielsson has been exploring odd meters. Here, he continues that exploration without sacrificing the appeal or emotional impact of the music—true to his philosophy: “If it sounds natural, it doesn’t matter what meter it’s in.” That’s especially true of the title track, which is in 17/8 time but still has an irresistible pulse, flow, and even airy elegance—enhanced by the unmistakable presence of trumpeter Arve Henriksen as the lead voice.Speaking of collaborators: Cloudland also marks the Liberetto debut of Syrian-born clarinetist/composer Kinan Azmeh—an immensely versatile musician whose work ranges from Yo-Yo Ma’s Silk Road Ensemble to commissions by the New York Philharmonic. In the quiet, introspective “Intermezzo,” we hear both his warm, focused tone on the clarinet and his poetic phrasing. So this album is also a celebration of the countless talents the members of Liberetto bring to Danielsson’s music. They’ve known and cherished it for over a decade—and on Cloudland, you can clearly feel the joy of playing it together again. Take “River of Little,” for instance: pianist Grégory Privat follows the theme with outstanding precision while simultaneously offering us a magical glimpse into the world of improvisational freedom and fantasy. We hear the breadth of guitarist John Parricelli—from the nylon-string delicacy of “Tango Magnifique” to the Casbah-like electric riffs of “Desert of Catanga.” Arve Henriksen’s contribution to the title track will linger in listeners’ minds. And drummer Magnus Öström’s sensitive command of timbre and texture in the quiet “Nikita’s Dream” is breathtaking.So Cloudland richly rewards the listener’s patience—not least through its many especially varied and beautifully crafted endings. Take, for example, the perfect tranquility of the rallentando—the slowing of tempo—that closes the title track. Or the mysterious final bars of “Sacred Mind.” Or the sharp, crisp ending of “Desert of Catanga.” Just three examples of the thoughtful, meticulous work by the co-producers who functioned as a harmonious creative team throughout the album’s production: Cæcilie Norby, Magnus Öström, and Danielsson himself.

Duo Art - it is the most reduced form of making music together. No less rich, if it succeeds, the smallest "big band" in the world. Two musicians on their own, in harmony and competition. Complementing each other, questioning each other and giving each other their opinion - a fascinating dialogue ear to ear. Spontaneous and intense, call and response - jazz in its purest form. Sometimes less is more to create magical moments - as "Duo Art Creating Magic" proves.

On "Eternal Beauty", Landgren once again shines, in addition to his unique skills on the trombone, with his gently touching voice. He trusts his tried and tested team around Lars Danielsson and Michael Wollny: "When we start playing, that's when the magic begins!" Musical diamonds from George Harrison's "Isn't It A Pity" to Mr. Mister's "Broken Wings" to the hit "We Don't Need Another Hero" made famous by Tina Turner resound in timeless jazzy beauty.

Various Artists - Fahrt ins Blaue Nguyên Lê &Paolo Fresu, Lars Danielsson feat. Jan Bang, Wolfgang Haffner, Bugge Wesseltoft, Jacob Karlzon 3, e.s.t. Esbjörn Svensson Trio, Cæcilie Norby, Oddjob, Frank Woeste, Viktoria Tolstoy feat. Nils Landgren, Ida Sand feat. Jan Lundgren, Nils Landgren Funk Unit, McJazz [directed by Annette Humpe & Anselm Kluge], Roberto Di Gioia's Marsmobil feat. Johannes Enders, Tonbruket, Michael Wollny Trio On Fahrt ins Blaue, atmospheric soundscapes pass by: organic, dynamic, virtuosic, and smooth. The compilation floats effortlessly between electronic textures and acoustic jazz. The journey begins. Time seems to stand still at first: A breeze from Sardinia drifts through a mysterious Asian world (“Lacrima Christi”). The sound cosmos of trumpeter Paolo Fresu and guitarist Nguyên Lê is hypnotic and directionless. A groove sets in — a simple piano melody floats on the surface (“Ironside”): chill-out jazz with blue notes by the master of atmosphere, Lars Danielsson. The Fahrt ins Blaue continues with “Germany’s coolest drummer” (ARD ttt), Wolfgang Haffner, and his drum & bass-inspired ambient jazz (“Shapes”). Pianist and sound tinkerer Bugge Wesseltoft offers insight into his “New Conception of Jazz” (“Existence”). Things become weightless with Jacob Karlzon’s electro-acoustic piano trio jazz (“Bubbles”). The Esbjörn Svensson Trio takes us on a summery, joyful joyride with their virtuoso fun-hit “Spam-Boo-Limbo.” Things take a quirky turn when Clint Eastwood rides across the soundscape in “Ecstasy of Gold”, from the Western classic The Good, the Bad and the Ugly, in a jazzed-up version by Swedish jazz cowboys Oddjob. That feeling of cool summer rain on your skin is evoked by Ida Sand with her haunting cover of the Eurythmics’ “Here Comes The Rain Again.” And Nils Landgren’s Funk Unit meets us with a funked-out, laid-back take on an ABBA classic (“Gimme! Gimme! Gimme!”). We make a relaxed stop with Annette Humpe’s McJazz. With charm and a wink, she serves up “Coffee & Tea.” Nu jazz, minimal electro, and lounge pop intertwine in a unique blend crafted by keyboardist and multi-instrumentalist Roberto Di Gioia. On “Yelloworange,” he’s joined by saxophonist Johannes Enders. In a moving and elegiac homage, Dan Berglund’s Tonbruket remembers the late Esbjörn Svensson — the shining star of European jazz who passed away in 2008 — with “Song For E,” before the Fahrt ins Blaue ends with the Michael Wollny Trio: “Questions In A World Of Blue.”Credits:Compilation produced by Marco Ostrowski Mastered by Klaus Scheuermann

Various Artists - Fahrt ins Blaue III - dreamin in the spirit of jazzCD / digital Esbjörn Svensson E.S.T. Symphony Youn Sun Nah, Ulf Wakenius & Lars Danielsson Wolfgang Haffner Quartet feat. Dusko Goykovich Nils Landgren Quartet Paolo Fresu, Richard Galliano &Jan Lundgren Julian & Roman Wasserfuhr, Tim Lefebvre & Nate Wood Viktoria Tolstoy Cæcilie Norby & Lars Danielsson Matthieu Saglio &Vincent Peirani Ulf Wakenius Norah Jones, Joel Harrison & David Binney Jan Lundgren Quartet Michael Wollny & Vincent Peirani Natalia Mateo Jens Thomas & Christof Lauer Daydreams and soothing stories...in the Spirit of Jazz "There's a place for us, somewhere a place for us. Peace and quiet and open air wait for us. Somewhere…". These words from the classic song from Leonard Bernstein's “West Side Story” set the tone for "Fahrt ins Blaue III - dreamin' in the Spirit of Jazz": this is uplifting music, to take the mind and the soul to a place of safety. The kind of quiet interlude in a day which is always restorative. Switch off and then switch back on – better focused. We find calm, intimacy, thoughtfulness here; the sixteen tracks in this compilation have a sense of flow, while also allowing the listener to wander off into all kinds of musical dream worlds....From the very first spacious piano tones of Esbjörn Svensson’s "Ajar", one feels time standing blissfully still. This little gem, and the "e.s.t. Prelude" which follows it, is our entry point into the dreamy universe which will open itself up to us over the next 67 minutes. Youn Sun Nah's bittersweet "Lento", based on the music of Russian composer Alexander Scriabin, gently emerges, seamlessly followed by Dusko Goykovich’s wonderfully warm and sad muted trumpet as he contemplates the falling of "Autumn Leaves" with Wolfgang Haffner's "Kind of Cool" ensemble. Then we hear singer/trombonist Nils Landgren, gentle almost to the point of weightlessness in "Somewhere". There is poetry and the originality in Paolo Fresu, Richard Galliano and Jan Lundg-ren’s Mare Nostrum Trio: we hear Swedish pianist Lundg-ren’s earwormish ballad “Aurore”. Lundgren also appears with his own quartet, with some hushed lyrical magic from Finnish saxophonist Jukka Perko in "No.9". On "Fahrt ins Blaue III", Michael Wollny and Vincent Peirani show their astonishing kinship of spirit and their serendipitous ability to move together in their duetting on "The Kiss". Accordionist Peirani is also to be heard with Ricardo Esteve’s heart-rendingly lovely flamenco guitar and cellist Matthieu Saglio on the poignantly sad but uplifting and warmly Mediterranean "Bolero triste". We then hear the Wasserfuhr brothers transport us to New York's Brooklyn Bridge with a sweeping view of the shimmering Manhattan skyline at dusk with their relaxed grooving jazz ballad "Carlo". For peace and inspiration, there’s a man and his guitar: Ulf Wakenius plays Keith Jarrett's "My Song". That is followed by the duo of Caecilie Norby and Lars Danielsson enchanting us with an intimate version of Leonard Cohen's “Hallelujah”. Two more singers take us to the world of cinema: Natalia Mateo sings Wojciech Młynarski's gorgeous lyrics to Krzysztof Komeda’s “Lullaby” from "Rosemary's Baby", starting in her native Polish, and drifting into utterly beautiful wordlessness; and Viktoria Tolstoy offers that most pensive and gentle of breakup songs, "Why Should I Care". from the Clint Eastwood film "True Crime", with some stupendous guitar work from Krister Jonsson. And then there is an appearance by inimitable Norah Jones alongside guitarist Joel Harrison and saxophonist David Binney. She recorded a languid version of the country song "Tennessee Waltz" on ACT, on the album "Free Country", from the same era as her 27 million-seller "Come Away With Me". Pianist Jens Thomas and saxophonist Christof Lauer give us the quiet poise of “Green Dance”. This epilogue sums up the aesthetic of "Fahrt ins Blaue III": dreamlike music of beauty, tranquillity and calm – that it is well worth spending some time with. Credits:Mastered by Klaus Scheuermann

After "Remeber Chet" and "Upgraded", another quantum leap in the career of these two exceptional talents: "The wonderful trumpeter Julian Wasserfuhr and his congenial pianist brother Roman succeed in directly conveying emotion beyond all the craftsmanship and instrumental virtuosity they possess anyway." Matthias Brandt (German actor)

Various Artists - Hendrix in the Spirit of JazzCD / digital Various Artists “When I die, I want people to play my music, go wild and freak out and do anything they want to do.” Jimi Hendrix’s wish has been posthumously fulfilled. Although he had such misfortune in life, and died in 1970 at a mere 27 years of age, his immortal music has continued to be played ever since his death - very much in the spirit of that quote. Countless musicians in rock, pop and jazz have been influenced by Hendrix, and many have overtly based their own music on his. Among the ACT family of artists, several have been inspired by his music, and have found their own individual ways to play it. In November of this year this icon of the 1968 protest movement, this pioneer of rock would have been 75. A good reason, then, for ACT musicians to gather together for a retrospective called “Hendrix in the Spirit of Jazz”, to let the unique spirit of this genius of the electric guitar soar again.Pride of place here goes to Nguyên Lê. 25 years ago, he was the first artist to have an exclusive contract with ACT, in its first year of existence. As a self-taught guitarist, the Vietnamese-French musician is stylistically close to Hendrix, and the American has discernably influenced Lê’s instantly recognizable world music, which innovatively blends elements from Europe, Asia and America. Indeed, one of Lê’s very greatest successes was the 2002 CD “Purple – Celebrating Jimi Hendrix”. His versions of “1983…(A Merman I Should Turn To Be)” and “If 6 Was 9” form the centre of “Hendrix in the Spirit of Jazz”. Lê is immaculate in the way he lives up to the challenge of the title, taking all the freedom and danger of Hendrix’s rock music, and using the subtle craft of the jazz improviser to enhance it. Alongside Lê, Terri Lyne Carrington is a pivotal figure in this recording. Hendrix's themes are sometimes furiously rocky, sometimes soulful or atmospherically dream-like, and she not only propels them from the drums, she uses her voice to express his lyrics, which she also expands with thoughts of her own. And the other ACT stars on this album demonstrate what a kaleidoscope of colours, a diversity of styles and and lively cosmos Hendrix's pieces can become: whether it is Bugge Wesseltoft transforming “Angel” into a tender solo piano ballad, or his Finnish pianist colleague Iiro Rantala in a trio with Lars Danielsson on bass and Peter Erskine on drums on “Little Wing”. Or it can be the unique Youn Sun Nah’s “Drifting”, intoning an irresistible call of longing, or her soulful Swedish sister-in-jazz Ida Sand, wonderfully expressive in “Manic Depression”. From the NDR Bigband rocking out on “Voodoo Chile” to the ACT Family Band - Cæcilie Norby, Céline Bonacina, Wolfgang Haffner, Lars Danielsson with Nguyên Lê again – performing the most famous Hendrix anthem “Purple Haze” in front of an ecstatic audience celebrating the 20th birthday of ACT.“Hendrix in the Spirit of Jazz” is an anthology which shows that Hendrix’s music is as alive as it ever was – maybe even more so. And what it does - musically at least - is to encourage listeners to ‘go wild and freak out and do anything they want to do’.Credits: Music composed by Jimi Hendrix Compiled by Marco Ostrowski Mastered by Klaus Scheuermann

Iiro Rantala - how long is now?CD / Vinyl / digital Iiro Rantala piano Lars Danielsson bass Peter Erskine drums, percussion "Avoid the basic concept of the jazz piano trio and make it more groovy, with simple melodies” Iiro RantalaAfter the album “My Working Class Hero,” dedicated to John Lennon and “Tears for Esbjörn,” a homage to the influential Swedish pianist, “How Long Is Now?” puts the spotlight fairly and squarely back on to the Finnish pianist, composer and life-force Iiro Rantala. This new trio album with Peter Erskine (drums) and Lars Danielsson (bass) constitutes a many-faceted summing-up of a happy and resoundingly creative phase of Rantala’s life. Rantala says of the new album: “I think this is one of those ‘composition is the king’ kind of projects. The theme, the writing, the mood of the composition are the most important things.” Seven of the thirteen compositions here are by Rantala himself, three tracks by the other players in the trio, and three more are by others who, in their different ways, have helped to construct Rantala’s appealing musical personality. Rantala has described clearly what he wants to do as a composer: to write “simple melodies that people can remember,” and there are several fine examples with catchy hooks on this album. For example, Rantala has set out to capture the contrasting personalities of each of his two young sons, and convey the evident delight they both bring their father. Rantala describes them: “Bruno likes simple things in life. Sleeping and eating. So the tune is simple. Only 3 chords: G, am7 and D7.” And what about his brother Topi? “Topi is more bossy, there is more edge and drama with him. So, the tune is in the minor and has some more of a feeling of danger.” Perhaps that danger might be found in rock arenas, because “Topi” has inspired a riotously flamboyant Little Richard-style piano solo from Rantala, and Danielsson plays an arco solo which sounds uncannily like a wailing rock guitar. There is also joy in lively, buoyant tunes such as “A Nut” and “Snapchat.” The guest composers on the album are certainly an eclectic bunch: Jimi Hendrix, Kenny Barron and Johann Sebastian Bach. Hendrix’s “Little Wing” is a reminder that Rantala has very strong roots well outside the jazz tradition. When he is asked to name his musical influences, the first name Rantala comes up with (before those of Egberto Gismonti, Keith Jarrett and Michel Petrucciani), is Richard Tee, a presence on a vast quantity of R&B records from the 1970s onwards, and a seminal 'pop' piano influence through his gospel background. And what inspires Rantala’s take on Kenny Barron’s ‘Voyage?’ “It’s a mixture of Finnish Tango and...well...Voyage,” he says. And Bach, the “Kyrie” from the B minor mass? For Rantala this tune is a memory of a formative childhood moment: “I started my life in music singing Bach at age of seven in a boys choir.” Rantala’s compositional horizons are mostly what defines “How Long Is Now?”, but he also has a conscious intention to take a jazz trio in a specific direction: “The basic concept,” he says, “is to avoid the basic concept of the jazz piano trio and to make it more groovy, with simple melodies.” For “How Long Is Now?” Rantala extended the invitation to one of the great drummers of our time, Peter Erskine. Rantala was thrilled to have the opportunity in June 2015 to do just two concerts and this recording with Peter Erskine: "I love Peter Erskine's playing," he enthuses. "I grew up listening to him. Steps Ahead, Weather Report and particularly Word of Mouth." The collaboration and the juxtaposition of Rantala and Erskine are fascinating to witness, particularly with the astonishing close-up clarity and sound quality that engineer Adrian von Ripka has achieved in the Bauer Studio in Ludwigsburg. Rantala is a far more rhythmically assertive player than the pianists with whom Erskine has had the strongest associations in the past, such as Alan Pasqua and the late John Taylor. Perhaps the best example the Erskine’s genius in this context is “A Nut,” where he responds to Rantala’s up-front challenges with a seemingly inexhaustible creative well-spring of rhythmic and tonal variety. The results are dazzling. Perhaps the best tribute that can be paid to Erskine’s playing right through the album is to quote Erskine himself describing what he always admired in Elvin Jones: "pure emotional expression and velocity, and being in tune or somehow plugged into a higher awareness of things." The bassist of the trio is another consummate musician, Lars Danielsson, whose playing is consistently both subtle and authoritative. He has brought two compositions to the record. “Choral” is a short evocation of a winter morning. “Taksim By Night” presents a confluence of Eastern music and European classical tradition that Danielsson encountered personally when playing in the square in Istanbul, and which left an indelible impression. A feature present throughout the album – and which was apparently much in evidence at the sessions too - is Iiro Rantala’s winning sense of humour. He recently told an interviewer on video: “We Scandinavians like minor and sadness... and pessimism and darkness.” But as he spoke all of those words, he never allowed a characteristically mischievous and ironic smile to slip from his face, even for a moment. In “How Long Is Now?” Rantala, Erskine and Danielsson have produced a thoroughly life-affirming album.Credits: Music composed by Iiro Rantala, unless otherwise noted Recorded, mixed and mastered by Adrian von Ripka at Bauer Studio, Ludwigsburg, June 10 & 11, 2015 Produced by Siggi Loch

On "Imaginary Room" you forget every violin stereotype and witness Bałdych's impressive virtuosity, expressivity and variability. Not for nothing did Ulrich Olshausen finally write in the FAZ that Bałdych is "undoubtedly the greatest living violin technician in jazz. You can expect everything from him." - And what you can expect from him is impressively demonstrated on his ACT debut!

Jan Lundgren - Into the NightCD / Vinyl / digital Jan Lundgren piano Emile Parisien soprano saxophone Lars Danielsson bass The trio format has always been something of an ideal for Jan Lundgren. That particular buzz when communication between the musicians in a trio is direct, immediate and ever-present...when the trio keeps a constant sense of forward motion and development...when the players collectively remain open to the inspiration of every millisecond. These are the virtues which Lundgren sees as the recipe for the kind of openness, freedom, subtlety and excellence of a trio at its best. Lundgren has had a trio in the classic piano/bass/drums format ever since 1995. In addition, since 2007, he has also broken the mould with the "Mare Nostrum" project, a congenial alliance with Sardinian trumpeter Paolo Fresu and French accordionist Richard Galliano. Critics hailed it at the time as the "first European supergroup". And Mare Nostrum has brought him even closer to his ideal. But, there again, Jan Lundgren is nothing if not driven and determined, and is probably at his most fulfilled when setting himself new challenges...  "I have always been on the look-out for strong voices in the European jazz scene, musicians who have a similar sense of adventure to mine and who can move in any direction," explains the 55-year-old. And he also happens to have a good platform to make that happen, in the form of the Ystad Sweden Jazz Festival. Lundgren founded the festival in 2010 and has been Director of it ever since. (Ystad, incidentally, is the small town on the south coast of Sweden which has been made world-famous by Henning Mankell's Wallander TV thrillers). The "Ystad Concert '' from 2015 with bassist Mattias Svensson and the Bonfiglioli Weber String Quartet, a tribute to the Swedish jazz pioneer Jan Johansson, is a case in point. As Lundgren expresses it: "There's always something new waiting for me in Ystad, something I've never tried before..." And thus it was that fate took a hand at the 2020 festival – as it so often does in jazz. Jan Lundgren had programmed a performance by his own piano trio. But when the drummer had to cancel due to Corona travel restrictions, French saxophone luminary Emile Parisien stepped into the breach at very short notice and a completely unconventional trio was born, one of those unexpected challenges which Lundgren particularly relishes. The day before the concert, Lundgren, Parisien and his Swedish compatriot Lars Danielsson met for the very first time. After a short rehearsal, all three of them had a strong feeling that luck was on their side. Jan Lundgren even uses euphoric expressions to describe it: “a trinity, divine provi-dence!" And later, in the intimate setting of a small concert hall, where each and every listener is inevitably part of the process of creating the music, the magic of the new trio could really unfold. "Jazz is always about good melody, concise rhythm and strong composition," explains Lundgren. "Everyone brings their own personal imprint, starting as we do from such completely different musical backgrounds. And that's what makes it so exciting and thrilling. We enjoy immersing ourselves in each other's worlds – and creating new worlds in the process."Lundgren, Parisien and Danielsson choose catchy tunes as the startingpoint for their excursions together; there is an appealingly childlike sense of wonder, joy and discovery as these improvisations unfold. The opener "Glädjens Blomsters" (Flowers of Joy) is an old Swedish folk song; Emile Parisien's dark soprano sax gives it a feeling of melancholy that is truly touching. Lars Da-nielsson's hymn to his daughter "Asta" seems to take us to an echo-ey corridor full of harmonic vibrations. And then come a series of surprises, starting with the bassist introducing Parisien's "Preambule" with an emphatic introduction, and then the heart-warming "I Do", which Lundgren once wrote to accompany a stage play, and which the musicians find deft ways to illuminate. The pianist introduces "Schubertauster" in virtuoso romantic style – the tune is a homage to Franz Schubert composed by French accordionist Vincent Peirani. Jan Lundgren owns a dog, a cute little Yorkshire Terrier/Chihuahua mongrel, and "A Dog called Jazze" has puppy-like liveliness and enthusiasm. The title track "Into The Night" is har-monically colourful and seems like it could be the soundtrack for Sweden’s traditional ‘Midsommar’ celebrations. Finally, Lars Danielsson has written a personal declaration of love for "Ystad", this little gem of a jazz festival, and the three musicians shower it with love, devotion and empathy. The Ystad Sweden Jazz Festival was held again in 2021, from 4 to 7 August. And once again, Jan Lundgren, Emile Pari-sien and Lars Danielsson will be getting together as a trio to offer the festival audience their exuberant musicianship, their wealth of experience and their simple enjoyment of being back together in this new group. The prospect, Lundgren says, makes him extremely contented: “I'm just so happy about the way this has turned out, and the fact that we can pick up again where we left off after this long pandemic break. I have the feeling luck is on my side for a second time!" Credits:Recorded live in concert at Ystad Sweden Jazz Festival by Mattias Dalin (Eurosound AB), August 1, 2020 Mixed by Bo Savik, Jan Lundgren and Lars Danielsson at Tia Dia Studios, Mölnlycke, Sweden Mastered by Bo Savik Produced by Jan Lundgren & Lars Danielsson Executive Producer: Siggi Loch Cover art by Raimer Jochims, Chilandar II (1993-94)

Together, Możdżer & Friends conjure up a celebrated concert evening that once again demonstrates that the blend of jazz, classical, and folk music provides important impulses for the future of European jazz, with Poland, with Możdżer at the piano, playing a significant role in it.

Jazz at Berlin Philharmonic - Jazz at Berlin Philharmonic V: Lost Hero - Tears for EsbjörnCD / digital Iiro Rantala piano Viktoria Tolstoy vocals Ulf Wakenius guitar Lars Danielsson bass Morten Lund drums The Swedish pianist Esbjörn Svensson, who died in a tragic accident in 2008, changed the course of jazz in Europe in this century. He breathed new life into the most classic of all jazz formations, the piano trio, because he had a compelling vision of how he could make it function like a rock band. That concept ran right through what he did: from the group's outward appearance to way they cohered and kept their sights firmly fixed on their shared musical concept. The trio e.s.t. always drew the listener in quite brilliantly with their catchy melodic hooks, their particular way of circling and repeating, insistent and completely mesmeric. The result was that Svensson became the pop star of jazz. Countless bands have followed his example and adopted the basic design of e.s.t. Svensson's concept of crossing genres has also been a major influence on a whole host of the leading European jazz pianists of our time. The Finnish pianist Iiro Rantala, who has without question developed a style which is entirely his own, nevertheless includes Svensson among the musicians who have inspired him. Rantala has been developing and refining his own ways to pay homage to his musical heroes. The most recent example is an album devoted to John Lennon, “My Working Class Hero,” but he first embarked on this kind of very personal venture earlier, in 2011, with “Lost Heroes”, an album for solo piano which also marked his debut on the ACT label. That album garnered the prestigious “Jahrespreis der deutschen Schallplattenkritik” and was honoured in the ECHO Jazz awards. Rantala pays tribute on it to his personal musical icons, from Jean Sibelius to Bill Evans and Michel Petrucciani – and even Luciano Pavarotti. There is also a nod on this album to fellow pianist Esbjörn Svensson with Rantala's emotionally affecting composition “Tears For Esbjörn.” That one piece, that germ of an idea was to grow into a full-length concert in the series "Jazz at Berlin Philharmonic". When it took place, on 1st October 2015, Iiro Rantala was able to draw on the support of several prominent musicians, all of them artists who have chosen to follow in Svensson's footsteps as far as the crossing of genres is concerned. That major event in remembrance of the "lost hero" Svensson was not just a triumph, it was also a deeply moving occasion. The concert also included one musician whose working relationship with Svensson had been particularly close, the singer Viktoria Tolstoy. She has been called - and with good reason - 'Esbjörn Svensson's voice'. She was the one artist for whom the pianist had been prepared to depart from the discipline he imposed on himself of concentrating all of his considerable energies on e.s.t. As early as 1997, Svensson took the then 22-year old singer under his wing for her first album "White Russian". He co-wrote the highly melodic pop-jazz songs which feature on it, and produced the album too. e.s.t. became Tolstoy's backing band on that album, and also accompanied her on the road around Germany for her first tour. Later, in 2004, Svensson wrote and arranged all of the material for her ACT debut album „Shining On You,“ and played piano on the album - under the pseudonym Bror Falk. Guitarist Ulf Wakenius is another musician with a special connection with Svensson. He was a huge admirer of his compatriot and in 2008 became the first musician to devote an entire album to pay homage by playing Svensson's music. The remaining two members of the all-star band at the Berliner Philharmonie were musicians who had already worked with Rantala on "My History of Jazz," and who share a multiplicity of connnections with all of the others involved in the concert. In the first instance there is Swedish bassist and cellist Lars Danielsson, a pivotal figure in European jazz, and also the Danish drummer Morten Lund, who has participated on at least 60 albums by major international stars, and is regularly to be heard alongside members of the ACT label family such as Cæcilie Norby and Adam Bałdych, and indeed with Rantala himself. Rantala and his co-protagonists, in various formations, evoking different moods and adopting any number of interpretative strategies, have turned their attention to a number of the best known of Svemsson's compositions, which now form an intrinsic part of the Great European Songbook. The sequence of tracks takes in the mysterious slow motion Nordic atmospherics of “From Gagarins Point Of View.” which was the first hit for e.s.t., the drama of “Seven Days of Falling,” presented here as a piece for a guitar trio to improvise over, and the “Dodge the Dodo,” which was e.s.t's signature tune in their concerts. The title track of the album, “Tears For Esbjörn,” performed by the trio of Iiro Rantala, Lars Danielsson and Ulf Wakenius serves as a kind of prologue to the album. As the album's epilogue, John Lennon's “Imagine” brings an optimistic, Utopian vision, and creates an atmosphere which is consistent with Svensson's work and its wonderful power to connect. “Love is Real” is there too, as is to be expected. Svensson's most emotionally charged composition, and now a jazz standard, is movingly sung by Tolstoy and seems to justifies the album title “Tears for Esbjörn.” Tears for the loss of an irreplaceable artist such as Svensson are justifiable, even inevitable. The man was taken from us, and cruelly early, but there can be no doubting the durability of his musical legacy.Credits:Curated, produced by Siggi Loch Recorded live in concert at the Berlin Philharmonie, (KMS), October 1, 2015 Recorded, mixed and mastered by Klaus Scheuermann Presented by Stiftung Berliner Philharmoniker

Cæcilie Norby & Lars Danielsson - Just the two of usCD / Vinyl / digital Caecilie Norby vocals, percussion, Sansula, Udu Lars Danielsson bass, cello, guitar, Marimba, percussion Jazz's dream couple The sound of a bass starts things off - tender, dreamy and resonant. Only a player like Lars Danielsson can introduce a melody quite as magically as this. Then Cæcilie Norby joins in and sings Joni Mitchell’s eternal ballad “Both Sides Now” in her own irresistably sensuous way, entrenched in blues and utterly charming. With the very first note Norby and Danielsson take their listener on a journey into their private music universe, which leaves no-one unmoved. For many years Norby and Danielsson are a married couple but musically they went their separate paths for a long time: Norby was the pre-eminent funk and jazz singer in Denmark, until she took herself off to America, long before other Scandinavian singers followed her example. She became the first European female artist to be signed to the Blue Note label, a move which led to working with global stars such as Mike Stern and Chick Corea. Lars Danielsson, from Sweden, also has a major international career to his name, working alongside the likes of Charles Lloyd and the Brecker Brothers; but over and above that, he has developed as an artist (and also as a producer) through being a long-standing member of the ACT label family, and is now regarded as one of the most significant European jazz musicians. Just recently Danielsson has received the prestigious ECHO Jazz 2015 as best bassist international in Germany. Norby has also found her artistic home at ACT, where she has now been since 2011. Her husband was closely involved in the production of both of her albums for the label. In return, she brings her musical know-how into Danielsson’s productions, just like on the most recent album “Liberetto II”, released in 2014. The two have now taken on another venture together, performing an intimate duet, “Just The Two Of Us.” Danielsson explains: “This was a major challenge. For a bassist, the voice is the most demanding of instruments with which to work in a duo. You have to proceed with extreme delicacy when it comes to intonation and pulse. It can only work with two people who know each other really well, and who have a sixth sense for the direction the music is taking. Cæcilie knows how to react instantly to my playing, I couldn't have done this with anyone else.” Apart from songs by Joni Mitchell, Leonard Cohen and the great Abbey Lincoln, these two play their own compositions. These range from songs that come from deep-set emotions, like “Sad Sunday,” to an arrangement for duo of Danielsson's popular composition “Liberetto,” to which Danielsson has added a trademark extra section, “Cantabile.” The variety of expression that they achieve together, the sheer opulence of their musicality will amaze the listener. The album runs the gamut from the more classical “Toccata” to the grooving feel-good song “And It’s Supposed To Be Love.” Norby and Danielsson take on the folksy nonchalance of the charming ballad “Cherry Tree”, and also get stuck into the melodramatic soul number “Wild Juju Child.” They range from the near-silence of the miniature “Wondrous Story” to the African highlife spectacular “Wholly Earth.” Danielsson bows and plucks the bass, but that is far from all he does: he plays cello, and reveals himself to be a fine guitarist, and also deploys percussion instruments including marimba. Norby's vocal contribution goes all the way from the tenderest pianissimo to a gutsy shout, and she also accompanies herself on percussion – utilising both the Nigerian udu and the sansula (thumb-piano). Norby has a vivid and humorous way of describing how she and Danielsson worked together on “Just The Two Of Us”: “We listen to each other, we adapt to each other, feel – and toy with each other's feelings, listen again, we lean into each other, we relax, we surprise and convince each other, we step back into the shadows, grab the limelight, exaggerate, understate - and then listen again.” Norby and Danielsson are virtuosos, they are experienced artists, they are soul-mates who trust each other. Expect some magic.Credits:Recorded by Bo Savik at Tia Dia Studios, Mölnlycke (Sweden) Mixed by Jan Erik Kongshaug at Rainbow Studio Oslo (Norway), except 01, 04, 07, 12 & 13 mixed by Bo Savik and Lars Danielsson at Tia Dia Studios Mastered by Bo Savik at Tia Dia Studios Produced by Cæcilie Norby & Lars Danielsson Executive Producer: Siggi Loch

Wolfgang Haffner - Kind Of SpainCD / Vinyl / digital Wolfgang Haffner drums Jan Lundgren piano Sebastian Studnitzky trumpet Daniel Stelter guitar Christopher Dell vibraphone Lars Danielsson bass The “Sound of Europe,” captured and documented on CD and vinyl. For over 25 years, the ACT label has had a consistent mission to support and promote European jazz, and had substantial impact through doing it. All shades, all hues…but with an emphasis on specific countries and regions, among which maybe the best examples are Sweden and France. Of these two countries, ACT’s connection to Spain is perhaps the less well-known, and yet the very first production by the label was a venture involving Spain, Germany and the USA. In July 1992 label founder Siggi Loch brought the WDR Big Band together in Cologne with a few of the finest flamenco specialists from the Iberian peninsula, as well as heavyweights from American jazz such as Al Di Meola. The result was “Jazzpaña” (ACT 9212-2) which garnered two Grammy nominations, a major success for the fledgling record label. The arrangements on the album were by the (then unknown) composer/ arranger Vince Mendoza and by the Turkish-born star US producer Arif Mardin. 25 years later, and award-winning German drummer Wolfgang Haffner is doffing the cap to both Mendoza and to Mardin – the latter died in 2006. On “Kind of Spain” Haffner and an acoustic sextet have combined the music of the Iberian peninsula and jazz. The first track “For Vince & Arif” is a tribute to both of the great arrangers – the drummer worked several times with both of them. “During the session,” remembers Haffner, “Siggi played us one of the tracks from “Jazzpaña”. It had those typical flamenco hand-claps. We spontaneously decided to sample the claps, and jammed over them.” Following on from the successful 1950’s cool jazz and bop excursions in “Kind of Cool”, “Kind of Spain” is again with an 100% acoustic band. Traditional Spanish music meets jazz. A cultural heritage which is more than 500 years old encounters the blue notes of the New World; flamenco and folklore meet new compositions by the bandleader. The vibe created by this sextet is introvert, warm and atmospheric, and the listener’s mind might easily drift off… to a roof terrace somewhere in Granada by night, perhaps. “My original wish was to record as a quintet,” says the ECHO Jazz prize-winner for drums from 2010. “A band with bass, guitar, piano and trumpet was already in existence. But then I decided that I absolutely wanted Christopher Dell to be part of the group as well, because he has had such an important role in my live band for years.” Vibraphonist Dell, who like pianist Jan Lundgren was on “Kind of Cool”, gives a particular tonal colour to this endeavour. Lars Danielsson has been a fixed presence in Haffner's groups right from the beginning; the bassist (who also plays cello) was on Haffner's ACT debut album “Shapes” in 2006, has been a member of his acoustic trio, and has been a musical close colleague for several years. Sebastian Studnitzky, who brings in his velvety trumpet sound, is another musician who has a long playing history with the drummer, not least the time when both of them were members of the Nils Landgren Funk Unit. And then there is the youngest member of this team: guitarist Daniel Stelter. “That melody is so strong that the softer you play it, the stronger it gets,” said Miles Davis of Joaquín Rodrigo's “Concierto de Aranjuez,” which he recorded for his 1960 album “Sketches of Spain.” Here Daniel Stelter plays the unforgettable tune – very much in the idiom of the trumpet legend. Stelter, whom Haffner got to know during Al Jarreau's final concert tour, demonstrates tremendous concentration - and also tenderness. "Space in music is essential to me," says Haffner. “Just a few notes, played in ballad tempo, that really appeals to me." Understatement is the order of the day on "Kind of Spain", with no one adding a note more than is necessary, and a bandleader whose drumming never has a scintilla of attention-seeking about it. "I like strong melodies and beautiful harmonies," Haffner emphasizes. "The very last thing I think about is how I am going to accompany the songs on the drums." Both "Tàpies" and "Salinas", composed in Haffner's adoptive home, Ibiza, show evidence of his elegant restraint. The traditional Andalusian 16th century piece "El Vito," and Lars Danielsson's exciting "Pasodoble," which is reminiscent of Spanish folk dance, are both invigorating popular songs. On these tracks Dell and Lundgren both shine with fine solos. So who knew? Spanish music...played by German and Swedish jazz musicians. Who would have guessed that so much Mediterranean passion and sensitivity can exist north of the Alps? And the answer is: everyone who knows Wolfgang Haffner. Credits: Produced by Lars Danielsson with Wolfgang Haffner Executive Producer & Curator: Siggi Loch Recorded by Arne Schumann at Hansa Studios Berlin, January 21 & 22, 2017 Mixed by Arne Schumann@Schumann&Bach Mastered by Peter Heider at Purecuts